Joan Jett, Sonic Youth's Kim Gordon and Lorde channelled the spirit of the late Kurt Cobain on Thursday (10Apr14) as they performed with the surviving members of Nirvana at the Rock and Roll Hall of Fame induction ceremony. Michael Stipe from R.E.M. paid tribute to the grunge stars as drummer Dave Grohl and bassist Krist Novoselic were joined on the podium at the Barclays Center in Brooklyn, New York by Cobain's mother and sister and his widow, Courtney Love.
The Hole frontwoman proved that any bad blood between her and the existing Nirvana duo was in the past by calling Grohl and Novoselic her "family" and hugging them both, before saying, "I just wish that Kurt was here to hear this and feel this and be this.
"Twenty years ago, the Rock and Roll Hall of Fame maybe wasn't (something he'd appreciate), but today he would have appreciated it. He would have appreciated Krist and Dave... his mother and his sister being here..." She went on to dedicate Cobain's posthumous honour to their daughter, Francis Bean Cobain, who missed the ceremony due to illness.
Grohl and Novoselic then welcomed their female collaborators to rock out with them, with Jett taking charge of vocals on Smells Like Teen Spirit, Gordon joining the pair for Aneurysm, and St. Vincent singing Lithium. Royals hitmaker Lorde helped the band close out the Nirvana reunion with All Apologies, which served as the explosive finale of the near six-hour induction ceremony.
Earlier in the night, Bruce Springsteen saluted his longtime backing musicians the E Street Band, and took the time to remember each and every person who had ever been a part of the group, including late saxophonist Clarence Clemons and his sidekick and "consigliere", guitarist Steven Van Zandt. Soul icons Hall &amp; Oates were inducted by The Roots drummer Questlove, but the singers' performance had to be briefly halted midway through a rendition of their 1976 classic She's Gone after experiencing technical problems.
There was no drama from KISS, who were introduced by Tom Morello, as the original line-up of Gene Simmons, Paul Stanley, Ace Frehley and Peter Criss reunited to join the Class of 2014, although they stuck to their vow not to perform after learning that Hall of Fame bosses would not be honouring current bandmates Tommy Thayer and Eric Singer.
Meanwhile, Bonnie Raitt, Emmylou Harris, Sheryl Crow, Carrie Underwood and Stevie Nicks joined forces to honour Linda Ronstadt, who was unable to attend the ceremony due to illness, and Coldplay frontman Chris Martin was on hand to praise former Genesis singer Peter Gabriel as a solo artist. Art Garfunkel celebrated the career of Yusuf Islam, aka Cat Stevens, and British producer Peter Asher helped to induct the Rolling Stones' former manager Andrew Loog Oldham and Beatles svengali Brian Epstein.

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
2/5
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Dave Grohl has paid tribute to late Nirvana frontman Kurt Cobain after the grunge icons were named among the 2014 inductees into the Rock and Roll Hall of Fame. The Smells Like Teen Spirit legends were among the nine acts to make the cut and will officially become part of rock 'n' roll history when they are entered into the fabled hall of fame next April (14).
Foo Fighters star Grohl, who played drums in Nirvana, admits he is delighted by the honour.
He says, "For once... I'm speechless. From the basements, to the dingy clubs, to the broken down vans, to... the Rock and Roll Hall of Fame.
"I'd like to thank the committee not only for this induction, but also for recognising Nirvana for what we were: pure rock and roll. Most of all, thank you to all of the fans that have supported rock and roll throughout the years, and to (frontman) Kurt (Cobain) and (bassist) Krist (Novoselic), without whom I would not be here today."
Novoselic adds, "This is a great honour. Thank you to the people who nominated and voted for us. Thank you most of all to Kurt Cobain. And to everyone who's kept rock music going strong for 60 years and counting."
KISS, Peter Gabriel, late Beatles manager Brian Epstein, Hall & Oates, Cat Stevens, now known as Yusuf Islam, singer Linda Ronstadt, producer Andrew Loog Oldham and Bruce Springsteen's sidekicks, The E Street Band, make up the other inductees.

Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Michael Buckner/Getty ImagesWhile most people scoffed when The Canyons director Paul Schrader compared its troubled star Lindsay Lohan to silver screen goddess Marilyn Monroe, they do have at least one thing in common – they've both been immortalised in song by Sir Elton John. Indeed, exactly 30 years after he penned "Candle In The Wind" as a tribute to the original Blonde Bombshell, the Rocket Man revealed this week that the closing title track from his new 31st studio album, The Diving Board, was based on watching the Mean Girls star's descent from talented actress to car-crash TMZ regular. Here's a look at five other songs that have been inspired by celebrities.
Alanis Morissette – "You Oughta Know"A tour-de-force of angst-ridden alt-rock, "You Oughta Know" transformed the Canadian from a Tiffany-esque teen pop mall queen to the world's biggest banshee. But few would have expected the subject of her fury to have been such an unassuming figure as Uncle Joey from Full House. Despite his initial denials, Dave Coulier finally admitted in 2008 that he was in fact the man who stamped on Morissette's heart after they dated in the early '90s.
Madonna – "Miles Away"Best-known for possibly the most tacky album cover of all time and a bandwagon jumping collaboration with Timbaland &amp; Timberlake, Madonna's much-maligned 2008 release, Hard Candy, wasn’t always so contrived. Indeed, this gorgeously melancholic electro-ballad was possibly one of the most honest and autobiographical songs of the Material Girl's career as she poured her heart out over the hardships of maintaining a long-distance relationship with now ex-husband Guy Ritchie.
Carly Simon – "You’re So Vain"Long before Taylor Swift turned the concept of 'blind gossip' into an art form, singer-songwriter Carly Simon got all the tabloids talking when she assassinated a former boyfriend's character on "You’re So Vain." Mick Jagger, Warren Beatty and James Taylor's names have all been thrown into the ring as possible suspects. But only Simon and the man who paid $50,000 to discover the answer back in 2003 appears to really know who the guilty party is.
R.E.M. - "Man On The Moon"Seven years before they wrote "The Great Beyond" for the Jim Carrey-starring biopic of the same name, R.E.M. paid tribute to the late cult comedian Andy Kaufmann with this enduring hit from Automatic For The People. Referencing everything from the Taxi star's flawless Elvis impersonation to his work with wrestlers Fred Blassie and Jerry Lawler, the track was named so due to the moon-landing style conspiracy theories surrounding his 1984 death.
Annie – "Me Plus One"Taken from her 2004 debut, Anniemal, "Me Plus One" saw Norwegian starlet Annie narrate the real-life moment when Geri Halliwell locked herself in a car with producer Richard X after discovering that he'd given the song she desperately wanted to record to former S Club 7 member Rachel Stevens instead. Also sampling the barks of the former Spice Girl's dog Harry, this insanely catchy slice of electropop undoubtedly ranks as one of the more bizarre celebrity odes.
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Reclusive funnyman Dave Chappelle is returning to the spotlight to headline a U.S. comedy tour with the Flight Of The Conchords duo. The cult comedian, who was once considered among the world's funniest people, abruptly walked away from his hit TV programme, Chappelle's Show, in 2005 and has kept a low profile ever since.
He made a handful of impromptu stand-up appearances in New York earlier this year (13), joining pals including Chris Rock and Kevin Hart at the famous Comedy Cellar venue, and now he has announced plans to hit the road for a 13-date trek.
The Oddball Comedy & Curiosity Tour, presented by Will Ferrell's Funny Or Die website, will also feature New Zealanders Brett McKenzie and Jemaine Clement, aka Flight of the Conchords, in addition to Al Madrigal, Brody Stevens and Demetri Martin, among others.
The shows will kick off in Austin, Texas on 23 August (13) and will touch down in New Jersey, Colorado, Arizona and Michigan before wrapping up in Mountain View, California on 20 September (13).

The only thing stranger than Simon Cowell's eraser-shaped head is the fact that he is currently dating Carmen Electra. The X Factor judge confirmed to Ryan Seacrest during his radio show that Electra (who has a long dating history of "Say what now?" men that includes Dennis Rodman and Dave Navarro) is not his "girlfriend" but they do "date." While Electra, 40, has had a more notorious love life, Cowell, 53, is no stranger to unexpected couplings, either. The music mogul had a long-running on-and-off relationship with pop star Sinitta, which started when she was just 14. (He is nearly ten years her senior.)
While the Cowell and Electra (Cowlectra? Electrawell?) is one of the more bizarre pairings to come out of Hollywood in a while, the two join a long lineage of Tinsel Town odd couples. Check out some of the other duos that have made us all go "Hmmm...."
Mila Kunis and Macaulay Culkin
Sure, they were both former child stars, but that didn't make the pairing of bona fide beauty Mila Kunis and troubled tabloid regular Macaulay Culkin any less strange. Even more eyebrow-raising? The mismatched duo dated for over eight years. Mary-Kate Olsen and Olivier Sarkozy
Let's do some math: half of the Olsen twins is dating the half brother of former French president Nicolas Sarkozy, who is almost twice her age. It adds up to one incredibly creepy pairing that looks more like a kidnapping than a relationship.
Amber Tamblyn and David Cross
Before having the most hipsterrific wedding in the history of Hollywood, the Arrested Development funny man and the Sisterhood of the Traveling Pants actress turned heads with their noticeably significant age gap and arguably different levels of attractiveness.
Julia Roberts and Lyle Lovett
Like Carmen Electra (bet you didn't think we could compare Julia Roberts to Carmen Electra, did you?) the Oscar-winning actress has had an eclectic love life. But this was none more evident than when the beautiful movie star wed goofy looking (sorry!) country singer Lyle Lovett. The pair eventually split in 1995 after less than two years of marriage.
Angelina Jolie and Billy Bob Thornton
One could argue Jolie's strangest pairing was her Oscar date brother, but since we've scrubbed that image clean out of memory, we'll go with BBT. In the throws of her wild child, blood vile-wearing days, the gorgeous actress was married to the guy who became famous for saying "French fried potaters" for almost 3 years, during which time they apparently had a lot of sex and creeped everyone out.
Christina Hendricks and Geoffrey Arend
Totally shallow to think it, we know. We know.
Brigette Nielsen and Flavor Flav
Take your pick about what's weirdest about these exes: that they met on Flavor of Love, that they were actually kind of a cute couple, or that the clock-wearing rapper/reality star could reasonably be considered one of the action starlet's more normal conquests — as she also has been with Sylvester Stallone and Arnold Schwarzenegger.
Drew Barrymore and Tom Green
When Barrymore first got married she was practically still a child (she was 19 when she wed Jeremy Thomas in 1994), but her second marriage was to someone who behaved just like one. The lovely actress, who had made her transition into adorable pixie at this point, was married to MTV jokester/goon Tom Green for a year while the whole world kept waiting to find out if this was one of his pranks.
Lisa Marie Presley and Michael Jackson Musical worlds collided in the most bizarre, unsettling way imaginable when Elvis Presley's daughter married the King of Pop. Their infamous MTV Video Music Awards kiss was one for the ages.
Soon-Yi Previn and Woody Allen The odd Hollywood coupling that started and ends them all: Woody and Soon-Yi. The legendary director became romantically involved with the adopted daughter of his longtime partner Mia Farrow, who was 20 years his junior. It's still pretty creepy to think about, but at least it's given the Farrows some seriously delightful Twitter fodder.
[Photo credits: Josephine Santos/Pacific Coast News; Chris Polk/FilmMagic/Getty Images; James Devaney/WireImage/Getty Images; WENN; Jim Smeal/WireImage/Getty Images; Steve Granitz/WireImage/Getty Images; B. Dowling/Wenn; Jody Cortes/Wenn; WENN; Kevin Mazur/WireImage/Getty Images; WENN]
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A few mugshots and a night in jail doesn't seem to get in the way of love for Seattle Seahawks tight end Jerramy Stevens and his fiancée, US Women's National soccer team goalie and Dancing With the Stars contestant Hope Solo. The two reportedly tied the knot Tuesday, even though Stevens was arrested the day before for allegedly assaulting Solo.
"Confirmed: Jerramy Stevens and Hope Solo were married tonight," Sports Radio 950 AM and 102.9 FM radio host Dave Mahler tweeted shortly after 2:00 AM Wednesday morning. "Events of yesterday morning didn't change plans. Sounds like more facts comin"
Confirmed: Jerramy Stevens and Hope Solo were married tonight. Events of yesterday morning didn't change plans. Sounds like more facts comin— Dave Softy Mahler (@Softykjr) November 14, 2012
Solo and Stevens reportedly started dating about two months ago. On Thursday, they applied for a marriage license. Following this, Kirkland, Wash, police confirmed to Hollywood.com that they hauled Stevens off to jail Monday for allegedly being involved in a domestic dispute. Stevens only remained in jail overnight, though, and was released Tuesday. This means that he could have worked in a wedding to Solo sometime that evening.
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Judy Eddy/WENN]
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